Coats that convert into cushions and scarves that may be worn as hats characteristic within the newest assortment from fashion model Issey Miyake, created in collaboration with French designer Ronan Bouroullec.
Introduced throughout the Homme Plissé Issey Miyake Autumn Winter 2024 menswear present in Paris, the gathering reinterprets Bouroullec’s rising physique of summary drawings into a group of clothes and equipment.
The collaboration with Homme Plissé Issey Miyake, an offshoot of Japanese vogue home Issey Miyake, comes after Bouroullec told Dezeen in an interview last year that he had turned down quite a few requests from vogue designers who had been eager to make use of his artworks.
“I did not need my drawings for use as patterns,” he mentioned on the time.
As a substitute, the brand new assortment centered extra on translating the spirit of the varied artworks, in response to the design crew at Homme Plissé Issey Miyake.
“The interpretation of inventive visuals goes past turning them into motifs and patterns,” the crew defined.
“The physique of labor acts as substances to be included into the design and making of the gathering, forming a harmonious inventive course of.”
The gradient strokes of Bouroullec‘s felt-tip drawings, for instance, had been transposed onto clothes original from the model’s signature pleated cloth, which had been minimize into asymmetrical silhouettes to correspond to the clean areas discovered on the web page.
Elsewhere within the assortment, these felt-tip brush strokes had been silkscreen-printed in layers onto all-white outerwear or translated into scarfs created from multi-coloured yarn.
Strategic head and arm holes had been added to those scarfs, to allow them to be worn in numerous configurations and even operate as a turban-style hat.
“The objects are knitted with multi-colored yarn and have holes in thought-about locations, permitting them to be wrapped and worn in a number of methods by passing the pinnacle or arms by way of them, creating wearable artwork,” the model mentioned.
Bouroullec’s Stylo-Bille works, that are painted with a ballpoint pen, known as for a unique strategy and had been realised by way of exact embroidery and a standard Gobelins tapestry weaving method.
The latter was used to kind large sq. pockets fastened to the skin of a number of puffer coats, which the garment could be stuffed into when not in use, successfully turning it right into a cushion.
“As a cushion, the colors of the work are replicated as per the unique drawing,” defined Homme Plissé Issey Miyake. “And when worn as a coat, the colors are inverted, providing a unique color scheme.”
A collection of pleated ensembles primarily based on Bouroullec’s All Over prints hopes to seize the immersive feeling of the artworks with their blocky colors and dense stripes.
“The unique drawing is crammed with numerous strains, making a sample so full of life that the wearers may think about immersing themselves in, versus viewing it at a distance,” the design crew defined.
This concept was translated into voluminous clothes with prolonged shoulders, sleeves and hems that may be draped over the physique.
The gathering was proven contained in the Palais de Tokyo in Paris, on a runway paying homage to a gallery, the place Bouroullec’s unique drawings had been pinned up subsequent to flattened variations of the clothes to additional blur the boundary between artwork and vogue.
“It was a unprecedented expertise to work with the design crew, the place I found many issues over the course of the inventive session about what my work has in widespread and in distinction with their clothes design,” Bouroullec mentioned.
“And it’s the synergy in addition to the gap between us which have made this undertaking each inspiring and rewarding.”
Each the drawings and the collaboration with Homme Plissé Issey Miyake are a part of a rising physique of solo work from Bouroullec, as his collaboration with brother Erwan Bouroullec as part of their joint design studio has come to an end.
Simply final 12 months, the designer created a set of pared-back furnishings for a 17th-century chapel in Brittany as a part of a restoration undertaking financed by François Pinault, founding father of luxurious vogue group Kering.